Jazz goes into folk music, into rock music. Jazz is in practically everything except classical music where they're reading the same music all the time, the same way, the same tempo every night.
I think folk music helps reinforce your sense of history. An old song makes you think of times gone by.
Folk music is not for a select group of people who feel that maybe he taught them about this music and that it belongs to them. It doesn't belong only to them. It belongs to everyone who's interested in the blueprints of good songwriting.
Jazz I regard as an American folk music; not the only one, but a very powerful one which is probably in the blood and feeling of the American people more than any other style of folk music.
I can be whatever it takes to be a folksinger. Folk music to me, if we had to have a definition, is portable music. A lot of what I do is flash, gesture, athletics, but what it comes down to is getting across a melody that will help it stick to your ribs, and being able to take it from town to town.
Country is based on folk music, which has been around for centuries—” “So has the plague.
Hip hop is at its essence a folk music, because it speaks the language that people are still speaking at ground zero, it speaks the language that people speak on the streets.
Whether it's your own material or somebody else's material, it's essential that you identify with it thoroughly. It's like you want to archive it; you want to freeze it in time in terms of your perspective on it, then move on, because folk music is that volatile and comments not only on overall human concerns but also on the specifics.
If I like hardcore straight-edge punk music, gentle psychedelic folk music, gangster rap, indie-rock with a lot of guitar pedals, and I find inspiration from all these things in different songs of mine, shouldn't I be allowed to make any of this kind of music that I want? And it's the same for the comic books, why should I only make autobiographical stories? Or only political stories? Or only superhero stories? Or only comedy stories? I am a bit creatively desperate, when I sit with a pen and paper I am desperate for ANY idea that makes me excited, I don't care what kind of idea it is!
As I've grown older I've been more influenced by more meandering styles of guitar playing, whether it's Celtic or Ethiopian folk music or some kind of noisier jazz like Sonny Sharrock. In terms of songwriting, I don't know that I could even pin it down.
This is something I think that blues music, or folk music, and all those particular genres that have a perspective about life deal with - where the difficulties of life are seen as something that are very natural and nothing to be embarrassed about, and something that we all go through; something that's part of our share of humanity. And it accepts those difficulties and pain as such. I think there's a wonderful forgiveness that can come over you, if you have that perspective on it.
Folk music has a sort of a bubbling-under quality. The stream runs through the cultural consciousness, and whether or not it's on the radio is not the issue. Folk music is always there.
I loved Israeli music, Israeli folk music.
The way I approach things is from an experimental folk music standpoint.
The Swedish folk music - I can't hear any connection between my music and fiddle tunes, but I guess since I grew up with that, kind of, Swedish tone or harmony.
We weren't straight-A students. We didn't start playing until we were teenagers, and we started playing rock and roll and punk rock - power chords - before we ever thought we would play folk music. So virtuosity was just never in my reach.
So, you know, there are a lot of the biggest records of the year. There's great music in hip-hop and jazz and, you know, and folk music.
My main influences are pop and folk music - Bob Lind, Neil Young, Joni Mitchell, Bob Dylan, the Motown collection, The Zombies, Elliott Smith, and a ton of 70's AM radio hits. I love powerpop too.
There's always something in most world folk musics that always seems connected; whether it's a bagpipe or a tambura, there's always some sort of drone instrument, and there's always percussion.
When I was young I wanted to make films and then I got into folk music when I was about 12, and started going to this folk club in Auckland. My dad [Barry Andrews] was in punk and post-punk bands, so I guess it was a side of music I hadn't really listened to before - the really narrative form of songwriting.
I didn't grow up on the porch of a cabin looking out over the 90 acres that the mule was plowing with Paw-Paw playing the banjo. But I was always interested in folk music.
Folk music had long been political but [Bob] Dylan's poetry took it to a new level.
In folk music, I've always been fond of the fragment. The song that has one verse. And you don't know anything about the characters, you don't know what they're doing, but they're doing something important. I love that. I'm really a sucker for that kind of song.
I was very engaged by the folk music movement.Bob Dylan; Joan Baez; Peter, Paul and Mary. And then I sort of discovered world music, and fell in love with ethnic music of all sorts.
I've always thought about myself as somewhat of a folk musician. I just write words.
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